Hindi
Prime Video’s The Mehta Boys to premiere at Kala Ghoda Arts festival
MUMBAI: Remember the grumpy professor from 3 Idiots who gave us all PTSD about grades or the cunning ‘Vardhaman’ from Don who gave SRK a run for his money? Well, Boman Irani is back—but this time, he’s swapped the villainy and lectures for a director’s chair! In a plot twist worthy of his own films, the man known for stealing scenes is now stealing the director’s chair.
That’s right, he’s making his directorial debut, and Prime Video’s rolling out the red carpet for his big moment at the Kala Ghoda Arts Festival. Cinephiles, rejoice—The Mehta Boys are coming to town!
Marking Irani’s directorial debut, The Mehta Boys dives into the heart of family dynamics, offering a poignant exploration of the father-son relationship. Produced by Irani Movietone LLP in association with Chalkboard Entertainment LLP, the film pairs heartfelt storytelling with moments of humour that are sure to leave audiences laughing and tearing up in equal measure.
Co-written by Irani and academy award-winning screenwriter Alexander Dinelaris, the movie promises a touching, emotional rollercoaster with layers of warmth and relatability.
Featuring a stellar ensemble cast, including Irani, Avinash Tiwary, Shreya Chaudhry, and Puja Sarup, The Mehta Boys delivers a rich narrative that captures the intricacies of everyday relationships.
The film’s premiere at the Kala Ghoda Arts Festival gives audiences an opportunity to experience this captivating story ahead of its worldwide launch on Prime Video on 7 February.
Before the screening, fans will be treated to an engaging panel discussion, offering a rare glimpse into the creative journey of the film. Irani and the cast will share anecdotes, creative insights, and the challenges behind bringing The Mehta Boys to life.
The collaboration between Prime Video and the prestigious Kala Ghoda Arts Festival underscores the power of art and storytelling in uniting audiences. With its reputation for showcasing India’s finest creative talents, the festival provides the perfect stage for this premiere.
Don’t miss this chance to watch The Mehta Boys light up the screen at Regal Cinemas, and prepare to laugh, cry, and feel the magic of Irani’s heartfelt storytelling.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
